Finally picked up the four DFA singles after having a couple tracks
on MP3 and still think the Geist version of "House of Jealous Lovers"
is the best of all. (I would say that, wouldn't I?) After that it's
probably "Beat Connection" and then one or two of the Juan Maclean
productions.

Boy, the last few Six Finger Satellite records still sound
great/annoying.

i have listened to the whole song now. it's ok. i was expecting more of a music switch near the end from what was said above. feels similar to 'instant club hit' Best lyric is "borrowed nostalgia for the unremembered 80's". i think i would like it more if i had met somebody like whom they are describing. 8 mins is a bit long to listen to casio beat, but i agree it probably wouldn't work much shorter.

This is the greatest goddamn 12-inch I've heard in a LONG LONG time. I can't stop playing it. Yes I know I'm about a year and a half too late. I don't care. All together now: "AND NOBODY'S GETTING ANY PLAY!!! IT'S THE SADDEST NIGHT OUT IN THE U.S.A.!!!"

Did anyone pick up the Shame 69/Negativland 7", 'No Business'? It's madshit hilarious; the Negativland side cuts up 'No Business Like Show Business', dropping new lyrics about artistic thievery. The Shame 69 is a cover of 'Losing My Edge', apparently by my man, Richard X, and includes lyrics about paedophilia and Gary Glitter, which ain't a necessarily cool subject, but I bust a gut anyway.

Yeah, I'm losing my edge.I'm losing my edge.The kids are coming up from behind.I'm losing my edge.I'm losing my edge to the kids from France and from London.But I was there.

I was there in 1968. I was there at the first Can show in Cologne.I'm losing my edge.I'm losing my edge to the kids whose footsteps I hear when they get on the decks.I'm losing my edge to the Internet seekers who can tell me every member of every good group from 1962 to 1978.I'm losing my edge.

voice one: To all the kids in Tokyo and Berlin.voice two: I'm losing my edge to the art-school Brooklynites in little jackets and borrowed nostalgia for the unremembered eighties.

But I'm losing my edge.I'm losing my edge, but I was there.I was there.But I was there.

I'm losing my edge.I'm losing my edge.I can hear the footsteps every night on the decks.But I was there.I was there in 1974 at the first Suicide practices in a loft in New York City.I was working on the organ sounds with much patience.I was there when Captain Beefheart started up his first band.I told him, "Don't do it that way, you'll never make a dime."I was there.I was the first guy playing Daft Punk to the rock kids.I played it at CBGBs.Everybody thought I was crazy.We all know.I was there.I was there.I've never been wrong.

I used to work in the record store. I had everything before anyone.I was there in the Paradise Garage DJ booth with Larry Levan.I was there in Jamaica during the great sound clashes.I woke up naked on the beach in Ibiza in 1988.

But I'm losing my edge to better-looking people with better ideas and more talent.And they're actually really, really nice.

I'm losing my edge.

I heard you have a compilation of every good song ever done by anybody. Every great song by the Beach Boys. All the underground hits. All the Modern Lovers tracks. I heard you have a vinyl of every Niagra record on German import. I heard that you have a white label of every seminal Detroit techno hit - 1985, '86, '87. I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.

I hear you're buying a synthesizer and an arpeggiator and are throwing your computer out the window because you want to make something real. You want to make a Yaz record.

I hear that you and your band have sold your guitars and bought turntables. I hear that you and your band have sold your turntables and bought guitars.

I hear everybody that you know is more relevant than everybody that I know.

You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.You don't know what you really want.

YOu know, it never occurred to me that he didn't actually mean the band Daft Punk!! But it makes sense, (chrono)logically. I assumed it was a meta-reference the disco punk thing, ie playing disco to punk kids

I'm sitting here with my pro studio monitors and computer running through a pro interface and everything, really clear and loud, and my teeth were shaking. And it stayed on even if you clicked on one of the videos. weird.

i think the last line is actually "we all know what you really want."and he is referring to daft punk the band in the other song - it's a what-if kind of scenario about a kid who saved up enough $ to get them over to play his house party in the suburbs.

it's a case of empson's second variety of ambiguity, where the ambiguity is resolved eventually. playing 'daft punk' to rock kids at cbgbs in the context of the song could just mean playing the ramones in 1975. but it could also mean playing daft punk at some point in the late 90s. both things being epochal. the eventual resolution is, i guess, that we know that murphy intended the 'ambiguity', it's a case of 'clever wording, cheers'.

that is a very good article. i especially like the quotes from james murphy discussing how the song was born of his own fears about the declining social value of music knowledge in an era of "internet seekers" who can track down obscure information relatively easily. the song is definitely a landmark.

Intentional I think. LCD Soundsystem always seemed like a band that had a terminal "mission" if that makes sense. When they showed up they already had a strong sense of themselves as a project or idea.